Genre: Drama
Director: Paolo Sorrentino
Cast: Sean Penn, Frances McDormand, Eve Hewson, Judd Hirsch, Kerry Condon, Harry Dean Stanton, Joyce Van Patten
RunTime: 2 hrs
Rating: NC16 (Some Coarse Language & Brief Sexual Scene)
Released By: Golden Village Pictures
Official Website: -
Opening Day: 29 March 2012
Synopsis: Cheyenne, a wealthy former rock star (Penn), now bored and jaded in his retirement embarks on a quest to find his father's persecutor, an ex-Nazi war criminal now hiding out in the U.S. Learning his father is close to death, he travels to New York in the hope of being reconciled with him during his final hours, only to arrive too late. Having been estranged for over 30 years, it is only now in death that he learns the true extent of his father's humiliation in Auschwitz at the hands of former SS Officer Aloise Muller - an event he is determined to avenge. So begins a life-altering journey across the heartland of America to track down and confront his father's nemesis. As his quest unfolds, Cheyenne is reawakened by the people he encounters and his journey is transformed into one of reconciliation and self discovery. As his date with destiny arrives and he tracks down Muller, Cheyenne must finally decide if it is redemption he seeks...
Movie Review:
Is there a role which eludes Sean Penn? In Italian director Paolo Sorrentino’s English-language debut following his 2008 Cannes hit ‘Il Divo’, the two-time Academy Award winner takes on an unlikely comedic role as an over-the-hill pop star named Cheyenne and pulls it off with aplomb. Indeed, even though the movie never does quite come together as a cohesive whole, Penn’s brilliant performance more than anchors the entire film, and you’ll find yourself hard-pressed to take your eyes off him.
To say that Penn owns the entire movie is not an overstatement- right from the start, Penn mesmerises with a bizarre get-up consisting of a jet-black fright wig and all-black lipstick and eyeliner even in the comfort of his own sprawling home. As is typical of such characters, Cheyenne suffers from depression, and besides doing the groceries while his fireman of a wife (Frances McDormand) is off at work, spends most of his time in the day hanging out with a spunky teen Mary (Eve Hewson) at a café in a shopping mall.
Purpose is what is lacking in his life- haunted by the suicide of two brothers who said they were inspired by his lyrics, Cheyenne has not been able to return to his music since. For the first half hour, Sorrentino familiarises his audience with the idiosyncrasies of his lead character as well as his marriage with his wife Jane, and thanks to an empathetic performance by Penn, your heart will go out to this lost soul searching for that elusive thing called meaning. It is testament to Penn’s flawless performance that you’ll still feel the warmth and heart behind his character’s eccentricities.
Cheyenne awakens from his stupor when he gets news that his father is dying and promptly makes the travel by cruise- because of his fear of flying- to New York. Unfortunately, he arrives too late, missing the very last opportunity to connect with the father he has not spoken to in years. So when his cousin Richard (Liron Levo) informs him that his dad was obsessed with tracking down a Nazi war criminal at Auschwitz named Aloise Lange (Heinz Lieven), Cheyenne takes it upon himself to complete his father’s mission.
And so begins a road trip across the United States, each pit-stop in Michigan, New Mexico and finally Utah offering memorable encounters with locals that in their own way serve to give him closure and reconciliation. Mirroring Cheyenne’s own inner transformation, Sorrentino adopts a measured pace as Cheyenne meets a history teacher (Joyce Van Patten), a war widow (Kerry Condon), his dad’s fellow Nazi hunter Mordecai Midler (Judd Hirsch) and finally of course Lange himself. Less patient viewers will probably be frustrated, but those willing to accept the laid-back tone of the film will find Cheyenne’s journey a rather therapeutic one- especially in its closing lesson on the importance of learning to let go of the past.
Sorrentino, who co-wrote the script with Umberto Contrarello, also lightens the mood of the film with some well-placed deadpan humour, delivered with panache by Penn. A scene where Cheyenne meets a gaggle of women in the lift discussing which brand of lipstick is best and finally gives them due advice just to shut them up is sharply hilarious, while his well-meaning attempt at match-making Mary with an earnest shopping mall staff proves sweet and amusing. But through the varying types of humour, it is Penn’s unpretentious acting that makes them work- with a recurring gesture of Penn casually blowing a wisp of hair falling across his face perhaps the most consistently delightful narrative device. Among his co-stars, McDormand shines in her role as Cheyenne’s wife, and a sequence where she is practising tai-chi in her lawn while distracted by her husband in the upper window one of the best moments in the film.
For rock fans, the participation of David Bryne is no doubt a highlight in itself, and Sorrentino pleases his fans with an extended concert scene that has the rock star performing the title song of the film while a woman in a room that reflects a period setting floats above the crowd. Nonetheless, for us cinephiles, the delight is in watching Sean Penn take on an unlikely comedic role in spite of his dramatic credentials. If it isn’t yet apparent, we’ll say it again- Penn’s flawless performance is good enough reason to visit this place, and it’s one that is warm, touching and unexpectedly affecting.
Movie Rating:
(Alternately quirky and affecting, this heartwarming movie with its laid-back charm and deadpan humour is anchored by a virtuoso performance by Sean Penn)
Review by Gabriel Chong
|
WRATH OF THE TITANS is the #1 Movie at the Singapore Box OfficePosted on 02 Apr 2012 |
|
"MARVEL'S THE AVENGERS" becomes all-time #1 movie in Singapore!Posted on 18 May 2012 |
Genre: Thriller
Director: David Brooks
Cast: Alice Eve, Brian Geraghty, Josh Peck, Will Woytowich, Aaron Hughes, Omar Khan, Glen Thompson, Robert Huculak
RunTime: 1 hr 30 mins
Rating: PG13 (Some Coarse Language and Violence)
Released By: Cathay-Keris Films
Official Website: http://www.ifcfilms.com/uncategorized/atm
Opening Day: 24 May 2012
Synopsis: After leaving their company Christmas Party together, David Hargrove and Emily Brandt's impromptu first date takes an unexpected turn when their co-worker, Corey, asks them to make a late-night stop at an ATM. What should be a routine transaction turns into a desperate struggle for survival when an unknown man appears outside the vestibule. With the wintry temperatures dipping below freezing, and the morning sunrise still hours away, they have no choice but to play the man's deadly game of cat-and-mouse..
Movie Review:
An all-too obvious attempt at replicating the unexpected success he enjoyed with Ryan Reynolds’ ‘Buried’, ‘ATM’ sees writer Chris Sparling returning to a claustrophobic conceit, pitting three individuals trapped within the confines of an isolated ATM against a hooded parka-wearing figure standing outside. The premise is gimmicky no doubt, but Sparling had managed to turn a similar high-concept into a surprisingly tense and thrilling experience the last time round, so it isn’t unreasonable to think that he could do the same with this movie.
Alas, ‘ATM’ is not even half as smart as his previous ‘Buried’, with its three characters behaving so ridiculously that you end up rooting for their demise instead. Indeed, there are so many moments where you’re bound to go ‘now why did they do that’ or ‘now why didn’t they just do that’, which of course does little to convince of the plausibility of the entire setup. And if it proves to be entertaining, it only manages to be so for all the wrong reasons.
Unlike ‘Buried’ where we are thrust from the very first shot into the tight space, director David Brooks takes about twenty minutes to get to that point- although this extended prologue does little in garnering any empathy for any one of the characters. All three- David (Brian Geraghty), Emily (Alice Eve) and Corey (Josh Peck)- happen to be colleagues at the same investment bank on their way home from their company’s annual Christmas party. And oh, if it makes any difference, this is also the first time David has plucked up his courage to talk to Emily the intern whom he has a hopeless crush on.
Upon request by the tactless and thoughless Corey, David makes a slight detour so Corey can take some money out from an ATM in the middle of a desolate parking lot to get supper. Following some narrative contrivance involving David’s faulty card, all three co-workers end up in the ATM booth- trapped inside by said masked figure whom they watch stabbing a passerby to prove to them as well as the audience that he is no Santa Claus. It doesn’t occur to them that there’s three of them and one of him, neither does it dawn on them earlier on to trigger some sort of alarm (which David eventually does) to alert the authorities.
On the contrary, they wait like sitting ducks while their terroriser figures out some way to flush them out- which again he only does, and we mean ‘flush’ literally, towards the end as dawn approaches. Not only do the trio come across as unresourceful, there is little that the script nor Brooks does to get you to root for them- least of all Corey, who is cast as selfish and callous. From one dumb missed opportunity for them to escape to another, the movie wears its audience’s patience thin waiting for the dim-witted affair to be over.
Worse still, for those willing to give it the benefit of the doubt and wait for some smart twist at the end, Sparling squanders that opportunity for redemption with an opaque explanation that offers little of the villain’s motivation. What is the point of watching David, Corey and Emily squirm in that ATM booth? Sparling offers no clue, choosing instead to divulge a little more of his villain’s methodical planning for a next ATM, hinting at the dreaded possibility of a sequel.
To his credit, Brooks tries his best to maintain a tense atmosphere throughout, and there are a few effective thrilling moments in the film. Ditto for the cast, especially an understated Geraghty, who seem genuinely invested in their characters’ circumstances. Nonetheless, both Brooks and the cast are let down by the loophole-ridden script that demands its audience throw all semblance of logic out the window.
Like its confined setting, such a premise requires tight plotting- and given that Sparling knew as much in ‘Buried’, the flaws in ‘ATM’ could only be due to sloppiness. How else would you explain why none of his characters thought to park their car right outside the ATM, instead of 100m away in the freezing cold weather?
Movie Rating:
(Illogically frustrating, this poor attempt at replicating the claustrophobic setting of ‘Buried’ within the confines of an ATM is a thriller with minimal payoff)
Review by Gabriel Chong
Genre: Thriller
Director: Danny Pang
Cast: Lau Ching Wan, Wang Bao Qiang, Elanne Kwong, Joey Meng, Ken Lo, Felix Lok, Lam Suet, Kelly Fu
RunTime: 1 hr 30 mins
Rating: PG13 (Some Disturbing Scenes)
Released By: Encore Films & Golden Village Pictures
Official Website:
Opening Day: 10 May 2012
Synopsis: One Day, a medium built stammerer, Jun (Wang Bao Qiang) confesses five murders at police station, but he fails to illustrate the details, after long oral examination the police believes Jun is mentally disorder and his mentioned murder cases do not come from the fact. Soon after, a cold-blooded murder unveils a series of mysterious murders in the district where Detective Han (Lau Ching Wan) stations in. Each of the victims is executed by different but equally brutal way. Han knows that he is dealing with a serial killer. Instinct tells him Jun is the suspense after he goes over all recent statements. His team goes and rummages around in Jun’s apartment, except a pile of old fairy tale books, no criminal evidence is found in the messy apartment.
Movie Review:
Whilst his other half Oxide has found some measure of success with the offbeat ‘The Detective’, Danny Pang has still been struggling to find that one hit to launch his solo career. But despite having all the elements in place- an intriguing premise, a strong lead actor and most importantly a relatable genre- ‘Fairy Tale Killer’ is unlikely to be that breakout hit for him, turning out instead as a wholly generic serial killer thriller that pretty much wastes the potential within its conceit.
And indeed there is much promise to be had in its story of a serial killer who dispatches his victims as if they were in some fairy tale- referencing among others the fate of the evil witch in ‘Hansel and Gretel’ as well as that of the evil stepmother in ‘Cinderella’. Adding to that is how the twist to these classic fairy tales is visually realised in the film through a series of dark foreboding sketches, the artist behind them an autistic girl (Elanne Kwong in an uncharacteristic role) closely related to said killer.
But it seems that after figuring out the modus operandi for the killings as well as the clues for their lead protagonist Han (Lau Ching Wan) to solve the murders, the quartet of writers (including Danny Pang, Szeto Kam-Yuen, Jessica Chu and Wu Meng Zhang) can’t quite figure out how to spin a coherent tale. Certainly, they aim to turn the genre on its head by revealing the murderer right at the start- a psychotic named Jun (Wang Baoqiang) who recently escaped from a mental hospital- and having him turn himself in before a perplexed group of detectives even before committing any of the crimes.
Thinking that he is simply spouting nonsense, the team release him from their custody- only to realise all too late the truth behind his words when the first victim (Lam Suet) turns up face down dead in a ditch. Another three will follow, all the victims linked somewhat conveniently to a troubled past involving Jun. Rather than concentrate on the procedural, Pang and his co-writers have their characters go off in parallel directions that fail to converge satisfyingly.
So Han is saddled with an autistic son whom he can’t find the heart to love, a long-suffering wife (Joey Meng), as well as distrustful colleagues whom he tells on to secure a much coveted promotion- oh and there’s also that bit about how his son just happens to be a savant who manages to piece together the aforementioned drawings so he can figure out how the next victim is going to die. Meanwhile, Jun is wracked with confusion as he tries to justify his actions by thinking of himself as the ‘good guy’ ridding the world of ‘evil wolves’.
The sheer number of plotlines would only have worked in the hands of an assured director, but Pang is certainly not that person. He switches between scenes too abruptly, never quite developing any so that they resonate with his audience. Instead, what we are left with are largely undercooked subplots, with the main confrontation between Han and Jun given too little emphasis. That becomes even more apparent in the climax, when Pang tries to up the ante by pitting both his leading men in a ‘Saw’ ripoff.
Yes, we’re talking about that ultraviolent ultra-sadistic Hollywood film which we can only surmise Pang must be a fan of. The finale set in some abandoned building has Jun setting up a number of tasks for Han to complete in order to save those close to him- and the most blatant ripoff of ‘Saw’ is when Han is made to choose between preserving his own life or rescuing his family within the span of three minutes. Of course coming to think about it, were it not for the film’s Chinese investors who would most certainly have wanted a Mainland release, the deaths within would probably be filmed in the same gory manner as that in ‘Saw’.
If the film remains watchable despite its flaws, it is because Pang has a reliable leading man in Lau Ching Wan. Unlike say that in Johnnie To’s ‘Mad Detective’, his character here is really nothing of a stretch, but he brings his usual brand of gravitas to the role. In contrast, Wang’s histrionic performance does him little favours, turning instead his villainous character to no more than caricature. Kwong and Meng are given far too little to make an impression, a pity especially for Kwong who tried to break out of her usual cutie-pie roles with something darker and more intense.
Pang’s failure to translate ‘Fairy Tale Killer’ into something more substantial is probably even more surprising given the common narrative devices that both the horror genre and the thriller share- many of which like the boo-scare and the sudden loud music are employed to varying degrees of success. Also worthy of mention is the appalling soundtrack used in the movie, which not only goes into overdrive each time Pang tries to build suspense, but is cut too jarringly to aid in the scene transitions.
From the missteps Pang makes in this movie, it’s no wonder then that some have taken to labelling both Oxide and Danny Pang as one-hit wonders trying to replicate their achievement of ‘The Eye’. And certainly, by bungling a movie that boasts an interesting conceit, one of the best leading men in the industry and a genre familiar enough with his biggest hit to date, that promise they once showed has become more and more elusive…like a fairy tale.
Movie Rating:
(Despite an interesting premise, this exercise in the serial killer genre falls flat with poor characterisation, less than coherent scripting and hamfisted direction)
Review by Gabriel Chong
Genre: Romance/Comedy
Director: Hwang In-Ho
Cast: Son Ye-jin, Lee Min-ki, Park Chol-Min, Kim Hyeon-Sook, Lee Mi-Do, Hwang Seung-Un
RunTime: 1 hr 54 mins
Rating: PG13 (Some Frightening Scenes)
Released By: InnoForm Media & Cathay-Keris Films
Official Website: http://www.ossak2011.co.kr/
Opening Day: 10 May 2012
Synopsis: Due to her unique ‘sense’, Yu-ri (Son Ye-jin) is unable to live a normal life or even think about dating anyone. One day, cupid’s arrow strikes a horror magician with frail ‘guts’, Jo-gu (Lee Min-ki), to fall for Yu-ri. Their sweet dating game turns into a sheer nightmare with ghosts blocking in the way of their happiness. Although Yu-ri is used to it, Jo-gu is terrified and feels his life threatened. Despite the spine-chilling stumbling blocks, Yu-ri and Jo-gu cannot give up on their love and put up the fight of their lives to keep it.
Movie Review:
My girlfriend can see ghosts can be easily dismissed as yet another rom-com from kimchi land. Borrowing the words from Transformer, it’s more than meets the eye!
My girlfriend can see ghosts, also known as Spellbound, is the directorial debut of Hwang In-ho. He is better known as a screen writer for hot-selling movies of the same genre, such as 2 Faces of my girlfriend (2008). Hwang is definitely not an amateur when it comes to screen writing and movie production, hence the engaging and endearing story.
Veteran actress Son Ye-jin plays the role of Yu-ri, who sees ghosts after a near death experience back in high school. Because of her ‘special ability’, she was even discriminated by her own family. Yu-ri ends up clammed up and withdrawn, maintaining relationships with her family and friends only through the phone, where she feel that she would not impose or bring any harm to them. However things started to take a change after she met Jo-gu, played by Lee Min-Ki, a street magician who gained astronomical success with his Horror Magic Show.
Even after working with him and his team for over a year, Yu-ri had never once joined them for a post-performance celebration dinner. However, Jo-gu successfully tricked her into coming. This eventually becomes the beginning where Jo-gu realizes that his interest in Yu-ri is more than just an employer-employee relationship. Under the influence of alcohol, Yu-ri displayed a side of her that makes stark contrasts with her usual withdrawn self and evokes lots of laughter. Subsequently, the spooky encounters with different ghosts add on to some comedic elements as well.
Son Ye-jin scored with her role as Yu-ri, as expected of an outstanding actress. Although her performance was not exactly a breakthrough or exceedingly dazzling, her sincere performance connects to the hearts of all those lonely souls. The confession of the ‘I’m actually not okay being alone though I always say I am,’ was particularly affecting. On the other hand, Lee Min-Ki, who was also seen in previous films such as Quick (2011), showed a more sophisticated side of him as he expresses Jo-gu’s dilemma when it comes to falling in love with Yu-ri. How he eventually pours out his heart to Yu-ri, undoubtedly the second peak of the movie, was really heart tugging.
The reason this movie is such a palatable treat is not only attributed by the good acting and romance story, but also the horror factor and good screen writing that makes the whole movie come together. As mind boggling as it is, the horror element actually fits this movie nicely. Though not particularly well done in terms of the CGI, the ghosts still jolt you out from your seat, and surely keep your tension high. The unveiling of the mystery behind Yu-ri’s spooky encounters also tied in well with the whole story. The dialogues exchanged between them are sometimes cute, and sometimes simply spot-on, albeit in a foreign language. All these elements combined, sprinkled with a little magic, piece together an endearing and heart-warming movie.
To top everything off, this movie is possibly the best date movie you can get around lately. It has the romance, horror and comedic elements combined in good balance. Even for the uninitiated and for people who are sceptical about anything Korean, this is going to be an enjoyable treat. Discover how love can triumph fear and help a person who once lost faith to believe in humankind again!
Movie Rating:
(There is no fear in love, but perfect love casts out all fear!)
Review by Tho Shu Ling
Genre: Drama/Comedy
Director: Wes Anderson
Cast: Jared Gilman, Kara Hayward, Bruce Willis, Bill Murray, Frances McDormand, Tilda Swinton, Edward Norton, Jason Schwartzman
RunTime: 1 hr 34 mins
Rating: PG13 (Some Sexual References)
Released By: Shaw
Official Website: http://focusfeatures.com/moonrise_kingdom
Opening Day: 2 August 2012
Synopsis: Set on an island off the coast of New England in the summer of 1965, MOONRISE KINGDOM tells the story of two twelve-year-olds who fall in love, make a secret pact, and run away together into the wilderness. As various authorities try to hunt them down, a violent storm is brewing off-shore -- and the peaceful island community is turned upside down in more ways than anyone can handle. Bruce Willis plays the local sheriff. Edward Norton is a Khaki Scout troop leader. Bill Murray and Frances McDormand portray the young girl's parents. The cast also includes Tilda Swinton, Jason Schwartzman, and Jared Gilman and Kara Hayward as the boy and girl.
Movie Review:
The opening film at this year's Cannes Film Festival, Wes Anderson's Moonrise Kingdom is exactly what you'd expect from a Wes Anderson film, and his latest is pretty much more accessible, playing on the usual quirks in a now familiar technical presentation that defines the auteur's unique filmmaking style. It's charming and entertaining, yet wistfully reminiscent of times when we were younger with little cares about the adult world,
As with most, if not all of Wes Anderson's films, it comes with an impressive cast list of the best that Hollywood has to offer. Central to the story are newcomers Jared Gilman and Kara Hayward, who play Sam and Suzy respectively, two kids who fall in love, and made a pact to run away from their New England town together. He brings just about everything required for a rugged survival, being the boy scout that he is and truly and proudly living up to the Scout's motto of being prepared, while she packs along an attitude that complements Sam's demeanour. Their disappearance sparks a massive search party mobilized to track them down, and that's when things start to get interesting with the many appearances of familiar faces.
Such as Bill Murray. He doesn't star in many films these days, but is in just about every Wes Andersen movie out there, sharing an affinity for the stories told by the director, perhaps liking his vision in how they get told. He stars as Walt Bishop, a lawyer and Suzy's dad, who goes ballistic with her disappearance. Playing his wife Laura is Frances McDormand, a lawyer too who shares secret romantic rendezvous with Bruce Willis' Captain Sharp, in what would probably be his most unglamorous cop role to date. Then there's Tilda Swinton personifying Social Services, adamant in getting Sam into an institution for the trouble he had caused, and Edward Norton starring as Scout Master Ward, under whose watch did Sam find opportunity to go missing. And rounding up the cast are Jason Schwartzman and Harvey Keitel in support roles. Whew! Talk about an ensemble!
Roman Coppola and Wes Anderson's wickedly whimsical tale packs numerous sub plots to pepper this film beyond a story of idyllic first love set against an impending storm, both literal and figuratively, with each major character shouldering their back stories that just didn't have the time to be explored a lot further, but provided with enough suggestions for one's mind to work them in imaginary detail. The central piece of the film would be Moonrise Kingdom itself, a small little paradise of a beach head that the kids established for their own little world, and the happenings that will likely become anecdotes when they grow older, from fish hook earrings to a romance that begins to get a little bit frisky.
Expect the usual Wes Anderson technical merits as well, and his trademarks all marking their stamp in the movie, from the pastel like colours, to the facial close ups, to its cinematography having that very linear feel, akin to reading a story book especially when the camera pans and tracks in vector, singular direction. Then there's almost always time for slow motion, and the absurd to happen that contributes to its comedic quality, no matter how serious the scene.
But what truly stood out, are the true gems Wes Anderson had discovered here in the child actors Kara Hayward and Jared Gilman, who hold their own against their veteran counterparts who happen to also be Anderson's film regulars, fitting in immediately like hand in glove. They vividly brought their respective characters to life and are refreshing in every way, with Gilman's fresh faced, eager beaver to please character set against the more brooding Hayward's, and the impressive skills of scouting and survival that Gilman's Sam brings to the table, against the more personal, and may I say selfish, nature of Hayward's Suzy.
The entire film can just center around them, and make everything else seem like unnecessary fat, but when put together under Anderson's unique vision, the movie transforms into a wonderful work of film art that will leave a smile.
Movie Rating:
(An extended scouting trip, Wes Anderson style)
Review by Stefan Shih
SYNOPSIS: Paradise Cove, filled with bikini girls, is Sharon (Chrissie Chau) and Rachel’s (Theresa Fu) homeland. The owner of Paradise Cove, Mrs. Brewer, is planning to demolish the beach and convert it into a holiday resort. All the beach inhabitants hold a strong protest against the demolishment. Sharon and Rachel challenge Mrs. Brewer’s children, Natalie (Jessica C), Natasha (Hannah Nicole Chou) and Tim (Law Chung Him) for a beach volleyball match. This led to the first encounter of Tim and Sharon. If Sharon and Rachel beat the Brewer family and win the Hong Kong Beach Volleyball Tournament, Mrs. Brewer will then keep her promise to cancel the resort planning. To improve their volleyball skills, Uncle and Auntie Dao teach Sharon and Rachel to incorporate martial arts into the Volleyball game. Sharon and Rachel’s team wins all the matches and enters the Final, where they will be challenging Natalie and Natasha. However, just before the Final, Sharon injures herself. As Sharon is badly injured, can they win the tournament and save Paradise Cove?
MOVIE REVIEW:
Let’s begin by listing the reasons why you should catch this movie, each of which are incidentally on the cover of this DVD:
1. Hong Kong model turned actress Chrissie Chau plays the lead- she who has become something of a social phenomenon in the territory after a head-turning advertisement where she rips off her office wear in the middle of the bustling central business district to reveal a bikini underneath. And guess what? You get to ogle at her in her swimwear from literally every conceivable angle in this movie.
2. Pan-Asian svelte beauty Jessica C- another one of the hottest new stars in Hong Kong, who’s made a reputation being Wacoal’s top lingerie model.
3. Another model-turned-actress Him Law- for those who avidly follow Hong Kong celebrity gossip, you’d know he was at the centre of a recent photo scandal involving openly gay businessman Lau Ding Sing, who is under investigation for photographing several male celebrities in various states of undress.
As you may have guessed by now, there is but one selling point to director Tony Tang’s ball-sy movie- that of seeing two of the hottest young babes in Hong Kong in their bikinis and just about the hottest young dude in Hong Kong without his top. It’s basically an unassailable offer- how can you resist the opportunity to see so many pieces of eye candy at the same time, and even better to see a potential catfight between Chrissie and Jessica?
Yes, Tang (who co-wrote the script with Leung Mong-Fung and Chan Pak-Nin) shrewdly sets these two beautiful ladies up against each other, with Chrissie playing the heroine defending her seaside village and beloved beach Pui Long Bay from a family of wealthy landlords (with Jessica C in tow) seeking to redevelop the land. Ultimately, it all comes down to a fierce match between the two down-to-earth local girls- Sharon (Chrissie) and Rachel (Theresa Fu)- and the two haughty landlord’s daughters- Natalie (Jessica C) and Natasha (Phoenix Valen).
As is typical with any sports movie, the leadup to that climactic fight is of course their tough training, led by a bickering husband and wife couple (Lo Meng and Sharon Yeung) who also happen to be kungfu masters. Ah yes, clearly inspired by Stephen Chow’s ‘Shaolin Soccer’, both Sharon and Rachel train in the art of kungfu to toughen their stamina for the game- while getting some opportunities to showcase their limited moves alongside veterans Lo and Yeung when Natasha leads a bunch of baddies to wreck their village restaurant.
For good measure, there’s also a bit of romance thrown in between Sharon and Natalie’s brother Tim (Him Law), which of course unsettles the locals at first but unravels the two sisters Natalie and Natascha. Unfortunately, Tang isn’t good enough a director to juggle so many disparate elements, and the end result is a movie that truly looks like it was stitched together from so many other better ones. Tang’s ineptness is glaring- and one notable example is the clumsy way he engineers Tim and Sharon’s first meeting by having the former save the latter after she develops cramps while swimming in the deep sea following an intense game of volleyball.
If the storytelling and direction are both dreadful, the volleyball scenes are no better. Except for the final game, there’s little attempt at any form of buildup for the rest, with Tang conveniently alternating between shots of bum, cleavage, girls diving into the sand and perhaps most amusingly girls getting smacked in the face in slo-mo. And apologies to Chrissie- she may have spent three months learning the sport just for the movie, but the terrible editing just doesn’t do any of her effort justice.
Of course, the fact that Chrissie plays her own volleyball in the movie is just a bonus- after all, the chief purpose of this movie is to ogle at her, and the cinematography of the movie fulfils just that. Ditto for Jessica and Him, both of whom were certainly cast for their looks more than for their acting (or the lack thereof). To be fair, they rarely embarrass themselves, so that’s about as much as you can ask for. As a skin flick, ‘Beach Spike’ achieves what it is meant to do, so don’t hesitate to take it at (err…) surface value.
SPECIAL FEATURES:
In addition to two teasers and two trailers from the movie, the highlight of the extras is undoubtedly the nine mini featurettes that make up the behind-the-scenes look at the movie. The first few featurettes cover the volleyball training that both the main actresses- Chrissie and Theresa- as well as the supporting actresses- Jessica C and Phoenix- went through. There's also a brief look at the kungfu and lion dance training sessions Chrissie and Theresa had. Again, check this out if you're a fan of Chrissie for more spontaneous shots of her bubbly personality.
AUDIO/VISUAL:
The Dolby Digital 5.1 delivers a surprisingly strong bass during the volleyball scenes, but otherwise uses the back speakers primarily for ambient sounds. Visuals are clear and sharp, with colours dynamic and vibrant- pity though the picture isn’t presented in a high enough resolution to fit your entire 1080p widescreen.
MOVIE RATING:
DVD RATING :
Review by Gabriel Chong
Genre: Horor/Thriller
Director: Monton Aryangkun
Cast: Jetsadaporn Poldee, Natta Veeranut Tongme, Apinya sakuljareonsuek, Rhys Ifans, Chris Pratt, Lauren Weedman, Jacki Weaver, David Paymer, Mindy Kaling, Dakota Johnson
RunTime: 2 hrs 2 mins
Released By: Golden Village Pictures & Clover Films
Rating: PG13 (Horror)
Official Website:
Opening Day: 26 July 2012
Synopsis: Bee, a young and beautiful training doctor at the Hospital’s Surgical department meets Dr.Tana, a senior doctor who is also her supervisor during her internship. She got to know of the tragic story of Tana and his fiancée, Nok, who was also a doctor at the Hospital before she was killed in an accidental just before their wedding. Tana has been living in grief and sorrow since Nok’s death, yearning for his lost love. Tana’s devotion attracts Bee and she attempts to relieve him from his misery. As she got to know Tana better, she realized that it is Tana’s grasping and attachment that are haunting him, keeping Nok’s spirit by his side…While Bee’s feeling for Tana grows, her fear and insecurity are creeping in too: having to face the ghost of Tana’s dead fiancée; Tana’s grasping of his past and most importantly, being the substitute and living in the shadow of Nok.
Movie Review:
How many times have you been misled by a seemingly innocent looking movie title? At first glance, 'I MISS U' seems a typical name for an ordinary romance film. However, it gets a little more complicated when it actually involves someone who has already passed away…
I MISS U is marketed as the top grossing Thai horror movie in 2012. Undoubtedly, there is always this market for Thai horror movies because they are known to be scary and creepily realistic. For this film, the superstition being emphasized is ‘missing the dead’. In other words, the more you miss the dead, the more they will linger around you. Hence the tag line, ‘if you love me, don’t miss me’.
The plot of the movie is fairly simple and undecorated. Veteran Thai actor Jesadaporn Pholdee plays as Tana, the senior doctor who lost his fiancée over a car accident, and young Thai actress Apinya Sakuljaroensuk plays Bee, the doctor in training who eventually got attracted to Tana. Apinya Sakuljaroensuk is quite an eye candy, and she frequently stars in Thai horror films, hence the competence in acting ‘scared’. Her acting definitely added positive value to the film despite the bare storyline.
It seems more apparent that nowadays, the popular formula that most movie makers use for the storyline is to work the script towards uncovering some sort of a deafening truth. So for I MISS U, the story eventually leads to uncovering the truth behind the presence of Nok (the deceased fiancée), as well as the Tana, who appeared to be a faithful and dedicated fiancé. However, there were many unnecessary twists and turns, sometimes involving people who were not even directly linked to the main storyline. It seems like a very desperate effort to turn it into something more sophisticated, more meaningful.
Technicalities wise, it was nothing impressive too. For horror film to work at best, it will require good background music and sound effects. That was missing from I MISS U. The sound effects and background music sometimes did not even seem to compliment the scenes and does not parallel with the storyline. The ghost is typical looking (usual darkened skin and dripping blood) and was not particularly visual impactful (I mean it may scare a 8 year old kid, but not so a 25 year old adult). On this note, it was a clever play on the psychological ghosts over the physical ghost, showing how the male lead and female lead respectively deals with them.
At long last, the movie ushers the viewers to the ending. It is a painfully long journey to go through and congrats if you made it through without dozing off. To compensate the lack of a meaningful storyline, a chain of events are cramped towards to end which are intended to lead to the climax. But it seems a little too much. There were many points where it seemed like the right place to stop, but it dragged on and explained way too much. And after all those explanations, it chooses to leave the viewers with an ambiguous ending
Movie Rating:
(A production that's not visually impressive enough and tries too hard to impress - be prepared to leave the cinema with lots of question marks and go ‘huh?’)
Review by Tho Shu Ling
SYNOPSIS: From the producers of "300", Immortals is a visually stunning and bloddy retelling of the epic Greek legend of Theseus. The ruthless King Hyperion leads his bloodthristy army on a murderous rampage across Greece to find a deadly weapon that can kill the Gods themselves. Only Theseus, a mortal chosen by Zeus, King of the Gods can lead the fight against Hyperion and his evil army with the fate of mankind and the Gods at stake.
MOVIE REVIEW:
A general rule of thumb when watching a Tarsem Singh’s movie is you will likely end up being more impressive with the visuals than the overall plotting.
Despite the lush visual landscape dreamt up by Singh (who described it as being done in Renaissance painting style) and his production team, we can’t help feeling “Immortals” is a mash-up of “Clash of the Titans” and “300”. “Immortals” involves the mortals, the immortals, beast and the titans. Not exactly that complicating so long you know a mortal, Theseus is mankind and God’s hope to save the world from the evil King Hyperion who intend to release the titans not the kraken.
The gist of the story is as above but the script by Charley and Vlas Parlapanides takes a while to get things going. Along the way we are introduced to Theseus’ ill-fated mother, a small-time thief Stavros, a virgin oracle who becomes Theseus’s love interest, a bunch of Gods that squabble all the time like a boardroom meeting and Hyperion’s desire to search for the Epirus bow.
If the Parlapanides’ approach bores you, Singh on the other hand keeps audience busy with spectacular violence with castration, decapitation and the killing of a Minotaur on the menu. CG blood splashes like nobody business and the several fight sequences are thrilling and heart pounding. The late costume designer Eiko Ishioka who also did “The Cell” and “Dracula” produced a series of outrageously cool outfits for the cast that even the real Gods will surely be impressed.
All attention perhaps lies on Henry Cavill, the soon-to-be-seen Superman on the big screen is stunning with his lean figure though his performance is limited to the fact that it’s hard to convince audiences a mere mortal being guided by Zeus, the God of sky and thunder in disguise can ultimately defeat Hyperion and his evil army from the clumsy scribing. Comparing Achilles and Hector from “Troy” or King Leonidas from “300”, Theseus is a weak character and a wasted opportunity to launch Cavill as a megastar.
Other notable stars include Slumdog Millionaire’s Freida Pinto who looks gorgeously beautiful as the sacred Phaedra so does Isabel Lucas (Transformers 2) in her role as Athena. Mickey Rourke is menacing enough though I doubt it takes much of his acting muscle to pull through. Twilight’s alumni, Kellan Lutz is also in this one as Poseidon.
The paintings-style backdrops and Singh’s flashy artistic sense might wow you over if you aren’t impressed by “Immortals” telling of Greek mythology. In the end, it beats reading reports of the current Greek’s financial turmoil anytime.
SPECIAL FEATURES:
Scholars and experts discuss about ancient Greek myths in It’s No Myth.
An overlong and boring Alternate Opening Scene that involves a young Theseus and 2 Alternate Endings which has Theseus killing Hyperion.
The extras also include 8 short Deleted Scenes and a Theatrical Trailer.
AUDIO/VISUAL:
Shot on digital format, the visual is pristine and sharp while the Dolby Digital 5.1 is high on the bass, booming with activity and solid with impressive sound effects.
MOVIE RATING:
DVD RATING :
Review by Linus Tee
| « Prev | 73 | 74 | 75 | 76 | 77 | 78 | 79 | 80 | 81 | 82 | 83 | Next » |
Most Viewed
No content.